Synopsis
Wet Woman in the Wind (2016), directed by Akihiko Shiota, is a romance film that sensually and playfully challenges erotic cinematic norms. It is part of the “Roman Porno Reboot Project,” which Nikkatsu initiated to bring back the style of softcore Japanese erotic films that characterized their catalog in the late 1970s and early 1980s. This film goes beyond tribute and, instead, reinterprets and revitalizes the genre through a contemporary lens.
The plot revolves around Kosuke Takasuke, a dispirited playwright who has traded the frenetic life of Tokyo theater for the stillness of the countryside. He is no longer interested in relationships and the emotional burdens they bring. Solitude, nature, and quiet have become his cherished companions. Kosuke’s life has become a self-imposed exile from drama, both in the literal and metaphorical sense, as he prefers the company of nature to human interaction.
His tranquility is soon shattered by the presence of Shiori, a fully uninhibited, reckless, and unabashedly sexual woman who storms into his life as if she were a force of nature. Shiori is the “wet woman” of the film’s title, both metaphorically and literally a personification of chaotic desire and the life force. Their encounter begins with Shiori taking an interest in Kosuke; she is radiant after a swim in the river and exudes an overwhelming glow. Her interest in him grows more and more as he remains unbothered by her attempts to flirt.
What follows is a playful back and forth filled with intellectually charged teasing, witty exchanges, and farcical laughter. Shiori, unlike the dormant female figure in most erotica, is bold, sharp, and deeply self-sufficient. She breaks through Kosuke’s emotionally stoic fortress and pulls him out of his self-chosen isolation. With every interaction that they have, the nature of their relationship becomes increasingly absurd and less predictable.
With the reemergence of some of Kosuke’s past associates alongside Shiori’s contemporaries, including his ex-lover and some inquisitive locals, the story takes a new twist. These supporting characters serve to accentuate the disparity between Kosuke’s yesterdays and todays, oscillating between imprisonment and liberty, societal norms, and unfiltered human yearning.
Wet Woman in the Wind examines the interplay of sexual and emotional dynamics instead of focusing on a storyline. It has elements of slapstick humor, drama, and eroticism in a stylized and unique manner. Rather than succumbing to blatant pornography, it meticulously builds erotic tension and a complex narrative, distinguishing it from other Japanese films.
Cast & Crew
Yuki Yamamoto as Shiori
Yuki Yamamoto embraces bold roles, especially as Shiori, showcasing her unapologetic sensuality and rebellious nature. Her artistry is captivating as she effortlessly blends humor and seduction while exuding an animalistic energy in the scenes. The role demanded risk and nuance, which Yamamoto provided in droves.
Tasuku Nagaoka as Kosuke Takasuke
Tasuku Nagaoka portrays his brooding, introspective Kosuke with a quiet intensity. Nagaoka’s performance was calm and composed, which paired well with Yamamoto’s vibrant chaos, creating balance. Nagaoka executes the evolution of Kosuke from detached intellectual to emotionally and physically awakened man in a subtle, yet compelling manner.
Supporting Cast
The supporting roles are the characters that come to and go from Kosuke’s rural retreat. In addition to being minor, each of these characters has some symbolic meaning, representing either the remnants of Kosuke’s former life or the societal intrusions into his self-induced seclusion. Their subdued performances contribute to the exploration of themes of personal escape versus connection, which remains inescapable.
Director: Akihiko Shiota
Shiota is recognized for his emotionally engaging films like Harmful Insect and Canary, and his distinctive directorial voice is evident here as well. With Wet Woman in the Wind, he walks the razor-thin line between erotic farce and art-house cinema, treating the material with surprising tenderness and style.
Writer: Akihiko Shiota
Shiota is also credited as the screenwriter. He uses the provided space to infuse the narrative with philosophical undertones, interspersing moments of absurdist comedy. He subverts traditional gender expectations by casting the male lead as a passive object of desire, inverting the dynamics commonplace in erotic films.
Cinematography: Hidetoshi Shinomiya
Shinomiya’s cinematography beautifully showcases the serene, rural landscapes of Japan alongside the dynamic and intense interactions between characters. Portions of the film’s settings are composed with a painter’s grace, which not only frame the film but also amplify its visceral quality, giving it an unrefined and natural feel.
Music: Hiroyuki Onogawa
The score composed by Hiroyuki Onogawa matches the film’s tempo seamlessly, oscillating between whimsical and introspective without drawing away from the visuals and the dialogue.
IMDb Ratings
As of now, Wet Woman in the Wind has a score of 6.2/10 on IMDb, derived from user feedback in the hundreds. The film may lack mainstream appeal, but it certainly has found a place among audiences who appreciate bold and unconventional storytelling.
The film is often noted for its reversal of standard gender roles and subversion of expectations. Critics view the film as a refreshing alternative to the exploitative tendencies of classic Roman Porno films and the sanitized romance of contemporary films. Director Akihiko Shiota’s elegant direction and bold performances, notably that of Yuki Yamamoto, have received significant acclaim.
Like all works of art, the film has its critics. Audiences who prefer a more conventional erotic flick might be put off by the abstract storytelling and the humor interspersed throughout. Some may also consider uneven pacing or vague character motivations to be additional flaws. That said, Wet Woman in the Wind remains, within its intended framework, a considered and successful contribution to the provocative art-house subgenre of erotic cinema. It is, after all, a provocative film regarded as thought-provoking.
Conclusion
Wet Woman in the Wind is a thoughtful critique of erotic dramas, revealing the undercurrents of desire, gender roles, and suppressed emotions. While defying genre expectations, the film preserves its roots, featuring strong performances, lush cinematography, and an irreverent tone. Akihiko Shiota has crafted a film that stands out for its provocative nature, sparking philosophical reflections which, coupled with its unconventional approach to storytelling, renders it compelling for cinephiles.
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